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MCN Columnists
Mike Wilmington

By Mike Wilmington Wilmington@moviecitynews.com

Chicago Film Critics Association Awards 2013

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cFor 20 years, since 1993, I’ve taken part in the voting, and sometimes the awards shows, for The Chicago Film Critics Association — and I’ll be there again for the 2013 Awards.

The show, in the 1990s and  the years before I emigrated to Chicago from Los Angeles, used to be elaborate and star-studded, Then it went into a kind of limbo for a while; Now, in the last two years,  there’s been a campaign by the CFCA to make their awards celebration it a gala affair once more. If you’re in Chicago or thereabouts, you’ll have a chance to see it. (A graphic with information  is below.) Our list of 2012 winners — which interestingly doesn’t mention  Oscar favorite Argo — is below too.

 

CHICAGO FILM CRITICS ASSOCIATION AWARDS FRO 1012

BEST PICTURE

 Zero Dark Thirty

BEST ACTOR

 Daniel Day-Lewis ( Lincoln) 

 

BEST ACTRESS

 Jessica Chastain (Zero Dark Thirty) 

 

BEST SUPPORTING ACTOR

Philip Seymour Hoffman (The Master) 

 

BEST SUPPORTING ACTRESS

 Amy Adams  (The Master) 

BEST FOREIGN LANGUAGE PICTURE

Amour  

BEST DIRECTOR

Kathryn Bigelow (Zero Dark Thirty)

BEST ADAPTED SCREENPLAY

 Lincoln (Tony Kushner)

BEST ORIGINAL SCREENPLAY

Zero Dark Thirty (Mark Boam)

BEST CINEMATOGRAPHY

The Master  (Mihai Malaimare, Jr. )

BEST EDITING

Zero Dark Thirty (William Goldenberg & Dylan Tichenor)

BEST ART DIRECTION/PRODUCTION DESIGN

Moorise Kingdom (Gerald Sullivan and Adam Stockhausen)

BEST ORIGINAL SCORE

The Master (Jonny Greenwood)

BEST NONFICTION FILM

The Invisible War

BEST ANIMATED FEATURE

ParaNorman

 MOST PROMISING NEWCOMER

Quvenzhane Wallis (Beasts of the Southern Wild

MOST PROMISING FILMMAKER

Benh Zeitlin (Beasts of the Southern Wild)

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Here’s the ad and info on this year’s CFCA Awards Show. I hope you can make it.

 

THIS IS YOUR CHANCE to join “Glee” star Jane Lynch and The Chicago Film Critics Association at the CFCA’s 2013 Awards show! Don’t miss your chance to be part of Chicago’s own red carpet with the stars this Saturday!
If you can’t see the image below, view this premiere event directly online.HollywoodChicago.com Hookup for 2013 CFCA Awards

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Wilmington

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“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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